Hey! Did you know that art does not exist
Through January 7, 2022
Tel Aviv Museum of Art, Israel
This exhibition presents more than one hundred works from Sylvio Perlstein’s intensely personal collection, which traces artists and trends that have defined the avant-garde, complex, and experimental nature of twentieth-century art. Work by Jean-Michel Basquiat, Duane Hanson, Roy Lichtenstein, Man Ray, Brice Marden, Ed Ruscha, Rudolf Stingel, Cy Twombly, and Andy Warhol is included.
Rudolf Stingel, Untitled, 2002 © Rudolf Stingel. Photo: Alessandro Zambianchi
Think of Them as Spaces
Brice Marden’s Drawings
February 21–October 11, 2020
Menil Collection, Houston
Think of Them as Spaces: Brice Marden’s Drawings is an exploration of the artist’s draftsmanship and of the catalytic role the medium plays within his practice. This exhibition presents six series of drawings that span nearly the entirety of Marden’s ongoing career, highlighting the processes of invention and permutation that occur as he works and thinks on paper.
Installation view, Think of Them as Spaces: Brice Marden’s Drawings, Menil Collection, Houston, February 21–October 11, 2020. Artwork © 2020 Brice Marden/Artists Rights Society (ARS), New York. Photo: Paul Hester
February 29–September 13, 2020
Museum of Contemporary Art Chicago
Nigerian-born British designer Duro Olowu curates a show that reimagines relationships between artists and objects across time, media, and geography. Moving away from traditional exhibition formats, Olowu combines photographs, paintings, sculptures, and films in dense and textural scenes that incorporate his own work. Work by Brice Marden and Nathaniel Mary Quinn is included.
Nathaniel Mary Quinn, Ms. Lykes, 2015 © Nathaniel Mary Quinn
Process in Minimal Abstraction
December 18, 2019–August 2, 2020
Solomon R. Guggenheim Museum, New York
During the 1960s and 1970s, many artists working with abstraction rid their styles of compositional, chromatic, and virtuosic flourishes. As some turned toward such minimal approaches, a singular emphasis on their interaction with materials emerged. The resulting pieces invite viewers to imaginatively reenact aspects of the creative process. Featuring paintings and works on paper, Marking Time explores how drawing attention to the creative process fosters a distinctively empathetic mode of engagement. Work by Brice Marden and David Reed is included.
Installation view, Marking Time: Process in Minimal Abstraction, Solomon R. Guggenheim Museum, New York, December 18, 2019–August 2, 2020. Artwork, left to right: © 2020 David Reed/Artists Rights Society (ARS), New York; © Park Seo-Bo; © Chryssa; © 2020 Jacob El Hanani; © 2020 Brice Marden/Artists Rights Society (ARS), New York
Cold Mountain Studies
June 9–August 11, 2019
“T” Space, Rhinebeck, New York
The thirty-five Cold Mountain drawings on display were key creative experiments leading toward Brice Marden’s widely acclaimed Cold Mountain paintings of the late 1980s. Marden has credited the ninth-century Chinese monk and poet Hanshan (“Cold Mountain”) and translator Bill Porter with inspiring his stylistic shift from monochrome to calligraphic painting.
Brice Marden, Cold Mountain Study (29), 1988–91 © 2019 Brice Marden/Artists Rights Society (ARS) New York. Photo: Jochen Littkemann
February 22–March 12, 2019
Musée Yves Saint Laurent, Marrakech, Morocco
The Musée Yves Saint Laurent, Marrakech, is exploring the long-standing influence of Morocco on Brice Marden’s work. The primary focus of the exhibition is Marden’s extensive output of works on paper, more than sixty of which are on view here: Among these are forty-eight works that were once contained in a workbook that the artist used over the past decade of his travels. Marden spent some of this time in Morocco, where, since 2015, he has worked part of the year. The exhibition includes one painting: Helen’s Moroccan Painting (1980), its colors inspired by the green of the valleys and the red of the earth as witnessed by the artist during a January 1978 trip driving from Ouarzazate.
Brice Marden, Helen’s Moroccan Painting, 1980 © 2019 Brice Marden/Artists Rights Society (ARS), New York
Brice Marden in
Nature + Abstraction
May 22–August 12, 2018
Fondation Beyeler, Riehen/Basel
This exhibition shows how themes of abstraction are explored by artists whose investigations of nature and its varied perceptions play a major role in their work. The central room is dedicated to Brice Marden, whose exceptionally clear and seemingly simple paintings are deeply influenced by his personal interests and fascination with nature, light, and color.
Brice Marden, Moon III, 1977, Daros Collection, Switzerland © 2018 Brice Marden/Artists Rights Society (ARS), New York
The Beginning of Everything
Drawings from the Janie C. Lee, Louisa Stude Sarofim, and David Whitney Collections
February 24–June 18, 2017
The Menil Collection, Houston
In anticipation of the October 2017 opening of the Menil Drawing Institute, the museum is exhibiting a selection of drawings spanning the mid-nineteenth to the late twentieth century. The show highlights promised gifts from the collections of Janie C. Lee and Louisa Stude Sarofim, as well as works from David Whitney’s 2005 bequest, which include those by Balthus, Georg Baselitz, Helen Frankenthaler, Alberto Giacometti, Anselm Kiefer, Brice Marden, Bruce Nauman, Richard Serra, Cy Twombly, and Rachel Whiteread.
Brice Marden, Untitled, 1988–91 © Brice Marden/Artist Rights Society (ARS), New York
The Great Graphic Boom
March 3–May 28, 2017
This exhibition explores the intense interest in graphic art among many leading artists of the postwar art period. With works from twenty-five artists, including Helen Frankenthaler, Roy Lichtenstein, Brice Marden, Bruce Nauman, Ed Ruscha, Richard Serra, Cy Twombly, and Andy Warhol, the show highlights the use of graphic media both as a refined form of expression and as an important phase in the artistic process. The exhibition has been organized with support from Staatsgalerie Stuttgart, Germany.
Andy Warhol, Flower, 1964 © 2017 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Photo: Therese Husby, courtesy Nasjonalmuseet